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In this study, the authors analyzed the domestic and foreign accomplishments of 56 ethnic minorities' folk dance in China during the earlier stages of the People's Republic of China from 1949 to 1966 with an aim to investigate the development of ethnic folk dance of the People's Republic of China.
The results suggest that after the establishment of the People's Republic of China the nation's ethnic folk dance entered a new stage of development based on the government's support for culture and art. The policies to identify, protect and guide ethnic folk dance served as a protective barrier for Chinese ethnic folk dance that was once in danger of disappearance, as well as a blueprint for Chinese dance.
Dai Ailian and many other Chinese dancers were passionate to learn ethnic minorities' dance and create their own performances, such as "Running Donkey", "Pien Chiang Wu" and dance performances created by Do Mi-Ran who is a folk dancer from the Dai Minority. Also, theoretical studies on ethnic folk dance conducted by the Beijing Dance Academy and the Central University of Nationalities that are Chinese dance educational institutions have strong significance in the succession and development of the country's ethnic folk culture and art.
In addition, in early 1950s, Chinese dancers began to absorb the old Soviet Union's dance creation methodologies. They created new forms of Chinese dance by combining traditional Chinese movements with the West's artistic perspectives. Accepting Western-style dance forms from the old Soviet Union helped Chinese ethnic folk dance make remarkable artistic developments.
This study showed that with these influences Chinese ethnic folk dance accomplished remarkable growth in the fields of performing, creation and education at home and abroad from 1949 to 1966 when the Great Proletarian Cultural Revolution started.
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